Musical Instruments Research Articles

A Two-Way Choice: The Medieval Pipe Organ and the Development of Medieval Church Music

The pipe organ during the medieval period played a significant role in religious ceremonies and worship. During this time, the pipe organ was the primary instrument used in churches and cathedrals across Europe. Organ music of the medieval period was characterized by its solemnity, grandeur, and religious significance. This paper explores the intricate relationship between the medieval pipe organ and the development of church music during the medieval period. It examines the historical background, construction, religious significance, and evolution of the pipe organ alongside medieval church music and music education. This paper discusses the symbiotic connection between the advancement of the pipe organ and the education in medieval church music, highlighting the role of cultural, historical, and socio-political factors in shaping this relationship. Additionally, it explores the significance of the "Codex Faenza," a renowned collection of medieval instrumental works, in understanding the interplay between the pipe organ and medieval religion. Overall, the abstract underscores how the pipe organ served as more than a musical instrument; it acted as a cultural symbol, facilitating identity expression, cultural exploration, religious dissemination, and the display of power in medieval Europe.

Identifikasi Konsep Fisika pada Kearifan Lokal Kesenian Tongklek di Indonesia

Indonesia is a country with cultural diversity that has been passed down from generation to generation. One of these cultures is the Tongklek art originating from Tuban Regency, East Java. In Tongklek art, all musical instruments used can be associated with the application of physics concepts. However, due to limited human resources, the study of the physics concepts contained in the art of Tongklek has received little attention. This study aims to identify the concept of physics in the local wisdom of Tongklek in order to increase public knowledge. In this study using a descriptive research method with a qualitative approach. The analysis technique used is data reduction. Based on the results of the research, it was found that the Tongklek art is a type of traditional art in the form of music art found in Tuban Regency, East Java. Tongklek art is a type of art in which there are several musical instruments, among the musical instruments used are kentongan, xylophone, bonang/kenong, gong suwuk, blunt gong, gong jengur/jegluk, drums, and plastic drums. In every musical instrument in the Tongklek art there is a concept of physics, namely the material of sound waves, especially organ pipes. The source of the sound of the Tongklek art, on average, comes from musical instruments that have a certain volume, there are forms where all fields are closed, there are also some of these things which are named as air columns as the source of the vibrations.

Implementation of design approach in traditional attire Bodo Dokhona for the sustainability of apparel culture

Purpose The purpose of this study is to empower a tradition Bodo attire Dokhona skilled artisan for their livelihoods and preserve cultural and historical legacy by using new themes influenced by Bodo items. Design/methodology/approach To revive the traditional Bodo artefacts by adapting a varied form of motifs inspired from Bodo artefacts which showcases Bodo identity. Findings Motifs implemented in apparel (e.g. Dokhona) inspired from Bodo traditional tools and musical instruments, signifying Bodo identity. Such apparels could be purchased by Bodo consumers as they are very keen to sustain their culture and heritage through motifs weaved in their traditional apparel. This study also proves that Dokhona designed with novel motifs developed from traditional artefacts are better than currently available designs of Dokhona as these were more aesthetic and contemporary in look. Social implications The motif adapted from traditional artefacts would motivate the weavers to weave innovative motif designs in their apparel bringing some newness in the Bodo traditional attire Dokhona, leads to business and women empowerment. Originality/value This study showed the way to create innovative ideas for designing apparel (e.g. Dokhona) from cultural artefacts and helps prospective textile and apparel designers to design sustainable Dokhona.

Uloga i (ne)potrebnost za tišinom u štovanju

The author of this article explores whether there should be a space for silence in the worship of God in believers’ lives, church services and the part of the service in which God is praised with songs. To carry out the study, the author compared worship services of two churches in Zagreb – the Evangelical Pentecostal Church “Rock of Salvation” and the Church of Christ (on Kušlanova Street). The author analyzed the presence and role of silence, considering the non-use of musical instruments in the Church of Christ and concluded that the “empty” space in the church service between individual smaller parts is used in various ways. The author presented different definitions of silence or quietness, which nowadays for many no longer means absolute silence, by putting in dialogue the interviews with the pastors of the mentioned churches – Ratko Medan and Mislav Ilić – and the reflections of theologians and experts in the field of Christian services. The same problem is also put against the backdrop of modern times that are both unfamiliar and uncomfortable with silence.

КҮЗЕМБАЙ БАЙБОСЫНОВТЫҢ ӨЛКЕТАНУ БАҒЫТЫНДАҒЫ ЕЛЕУЛІ ЕҢБЕКТЕРІ, ҒАЛЫМНЫҢ ХАТЫ ӨШПЕЙДІ

The article examines the works of the famous historian and local historian Baibosynov Kuzembaya. He made a great contribution to the study of the Zhambyl region. Throughout his life he conducted many scientific studies. He worked hard to find historical sites and valuable materials. Baibosynov Kuzembay did not stop his research even at retirement age. There were cases when they continued archaeological research in the sites of “Nizhniya Baryskhan”, located near the city of Taraz, they drew up a plan to open a museum there and presented it to the regional leadership.He presented the research he had done over the years and always mentioned historical sites that needed to be explored in the future.When students came to him for interviews, he shared many of his scientific plans and mentored the youth for the future. Let's talk about some articles that were published during his lifetime. The works of the Baibosynov Kuzembaya were published in local and national newspapers. Some time ago, an expedition organized by the museum brought from the Zhdanov state farm, Amangeldinsky department, Talas region, a very rare wooden bed made by Dayyrbekov Biten, who a century ago was famous for his art in the lower Talas region.Those who saw him and remember that he learned this art from his brothers Togyzbai and Onbai, and until recently, products made by him could be found in this village, but now they are not. In Kuzembai's articles, he was very interested in the history of the region and the creative work of the artists of this region. For example, one of the problems that has been bothering me for a long time is that wonderful works created by folk craftsmen and their musical instruments are being brought together. But some of them refuse to send it to the museum because it is a valuable thing left by their ancestors, he says. He writes about where and how the museum collected valuable artifacts from remote villages in the region.

Improving Social Relations Between Students Through Learning Dayak Music Ensembles Using the Peer Tutor Method

Preserving Dayak culture and developing musical abilities among the younger generation are important aspects in the revitalization of society. Learning Dayak music ensembles can help students to improve their social skills more effectively, so that they can be more calm, focused and productive in making music. This research used a qualitative descriptive method involving first semester students of the Performing Arts Education Study Program. Dayak music ensemble learning is carried out once a week. This learning includes theoretical and practical material for playing Dayak musical instruments, such as dau, gedobokng and agukng. These three instruments are often found in accompanying music for Dayak traditional ritual ceremonies. Learning activities take the form of exercises in ensemble format so that in the process students need to interact and socialize in order to be able to play music correctly. The development of students' social skills is obtained through observation, interviews and documents. Data analysis shows that the peer tutoring method makes a significant contribution to the development of social skills among students. This technique is used to determine aspects of social abilities, such as the ability to communicate, collaborate, leadership and responsibility effectively. The findings of this research contribute to the development of structured Dayak music ensemble learning strategies to improve students' social abilities which are reflected in aspects of social sensitivity, the emergence of a sense of empathy and self-confidence. Additionally, these findings highlight the transformative power of peer mentoring in fostering social-emotional development and musical skills.

Human musical capacity and products should have been induced by the hominin-specific combination of several biosocial features: A three-phase scheme on socio-ecological, cognitive, and cultural evolution.

Various selection pressures have shaped human uniqueness, for instance, music. When and why did musical universality and diversity emerge? Our hypothesis is that "music" initially originated from manipulative calls with limited musical elements. Thereafter, vocalizations became more complex and flexible along with a greater degree of social learning. Finally, constructed musical instruments and the language faculty resulted in diverse and context-specific music. Music precursors correspond to vocal communication among nonhuman primates, songbirds, and cetaceans. To place this scenario in hominin history, a three-phase scheme for music evolution is presented herein. We emphasize (1) the evolution of sociality and life history in australopithecines, (2) the evolution of cognitive and learning abilities in early/middle Homo, and (3) cultural evolution, primarily in Homo sapiens. Human musical capacity and products should be due to the hominin-specific combination of several biosocial features, including bipedalism, stable pair bonding, alloparenting, expanded brain size, and sexual selection.

Unknown Manuscript of “Bandura Playing Handbook” From DP Period

The purpose of the research is to introduce the manuscript of the “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951) into scientific circulation in the context of providing educational and methodological publications on the Ukrainian art of bandura playing abroad. The research methodology is based on the principles of historical, cultural, textual, and axiological approaches. Methods such as historical and typological, analysis and synthesis, music textual method, and musicological analysis were used, which made it possible to identify not only trends in the evolution of teaching and methodological approaches to teaching bandura playing but also the personological aspects of their formation. Particular attention is paid to the need to systematise not only the methods in printed editions of handbooks and self-tutorials on bandura but also manuscript rarities that remain in public and private archives and require proper scientific and methodological understanding. The scientific novelty of the study is determined by the introduction of the analysis of the manuscript “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951), created during the so-called camp period in Germany, where displaced persons (DP – Displaced Persons) were kept. The music manuscript is part of the documentary materials of the Archives of the Ukrainian Free University (Munich, Germany). Conclusions. The study analyses the handbook materials from the methodological and fingering points of view, the sequence of mastering the instrument, the formation of the bandura repertoire, and its comparison with similar examples in Ukrainian musical art. It determines the value of the handbook from the point of view of popularising the Ukrainian national musical instrument in the conditions of emigration and spreading the performing traditions of bandura art.

Music-making in microgravity: across the first 63 years (1961-2024) of spaceflight. Academy transaction note

Musical expression is a characteristic of humanity on Earth. This paper highlights the historical relationship between music and spaceflight, including its use in the representation of space, and its role in space culture. The paper documents circa 57 musical instruments: from a miniaturized harmonica to a 1.5 m Digeridoo that are known to have been taken into space – usually as part of a crew members personal allowance. Due to mass and volume restrictions numerous classical and ethnographic instruments have been ‘spaceflight-adapted’, in addition to the use of digital technologies for personal musical pleasure and public relations. Furthermore, it charts how access to personalised music playlists and shared musical experiences have been deemed to be vital by crew, promoting individual wellbeing including a connection to home, to each other and playing a part in the marking of success, and tragedy. The value of music making in space is briefly described leading to the proposition that as humanity ventures with greater regularity to Low Earth Orbit and beyond, consideration of how music can be effectively utilised to support individual and crew wellbeing, whilst contributing to the cannon of human artistic expression is warranted.

Домбра в калмыцком фольклоре и лирике ХХ – начала XXI в.: поэтика музыкального инструмента

The relevance and novelty of the article is determined by the fact that the poetics of a musical instrument was not the object and subject of research in Kalmyk folklore and poetry. Among the national musical instruments, the dombra retains its functionality at the present stage. The study of dombra as a thing and as a musical instrument in the translation of folk culture and art is of interest in a historical-functional, comparative-comparative sense when referring to both folklore and poetry, since it demonstrates the tradition, the continuity of the works of poets on this topic. In Kalmyk oral folk art, the dombra as a musical instrument is often found. It is mentioned in epics, fairy tales, legends, riddles, and songs. The material for the article were selected folklore works and representative poems of Kalmyk poets of the 20th – early 21st centuries. The purpose of the article is to consider the poetics of dombra as a thing and a musical instrument in Kalmyk folklore and lyrics to identify the continuity of traditions in the modern period. Results. The Kalmyks, unlike other Turkic-Mongolian peoples, apparently have not preserved folklore works about the appearance of the dombra as such, since it is considered a borrowed instrument. There are no such poems in Kalmyk lyrics. In Kalmyk folklore, the dombra is shown in its musical function; usually it does not have a plot-forming role. Among Kalmyk poets, poems about dombra are usually associated with the Dzhangarchi’s performance of folk epic songs, with folk rituals and holidays, singing and dancing. Depending on the time and space reflected in such texts, dombra is shown against the backdrop of historical and personal events, demonstrating a thematic range. A number of texts are dedicated to famous performing musicians and masters of dombra art. The analysis involved poems created in the Kalmyk and Russian languages, and also compared the original texts and their Russian translations.

Поэтика вещи в творчестве современных татарских поэтов как воплощение национального культурного кода

The study of the specifics of the artistic embodiment of the national cultural code through the material world in modern Tatar poetry is of scientific interest to researchers. This article provides a systematic and comprehensive analysis of the creativity of modern Tatar poets Renat Kharis, Robert Minnullin, Ravil Fayzullin, Sania Akhmetzyanova, who create their works in the Tatar language, and it is revealed that images of home and homeland occupy a large place in their artistic world, an important part of which the “material world” appears, elements of national clothing (ak kalfak — women’s headdress, skullcap — men’s headdress, ichigi — leather boots, musical instruments — kurai, accordion, domra), white or embroidered towel).

Поэтика вещи в калмыцких сказках о животных

The article examines the poetics of things in Kalmyk fairy tales about animals. The research material included both published and unpublished texts of Kalmyk fairy tales about animals in the original and translated into Russian, as well as legends and traditions. Despite the fact that when studying Kalmyk fairy tales about animals related to the genre, plot, composition, system of characters, and linguistic means, researchers touched upon such material culture to one degree or another, the objective world of such fairy tales did not become the object and subject of a separate study. Results. In representative Kalmyk tales about animals, object realities related to different spheres of material culture were found: types of housing and its decoration, non-residential buildings, tools and materials, household utensils, weapons and hunting tools, musical instruments, vehicles, etc. One of them is used by people and animals, others - only by people. Some objective realities are created by animals. In the plot collisions of fairy tales, things are used for one purpose or another by people and animals or only by people, while the same thing can have different functions, for example, attack and defense. In the only case, the thing is endowed with the magical ability of the donor. Some things reveal only the objective background against which certain events occur. Subject realities have both a universal and local, ethnic character.

The association between music performance skills and cognitive improvement in a musical instrument training program for older adults

Recent studies have reported positive effects of music training on older adults’ executive functions. However, it is not completely known whether these outcomes were due to improvement in music performance skills or due to other components of training, such as social interaction and music listening. Here, we investigated the effect of a 10-week melodica training program on a group of healthy older adults in Japan and the relationship between their early music performance and improvements in executive functions. Participants were divided into an experimental and a passive control group; both completed a battery of executive function measures before and after the intervention. The experimental group also completed a music performance evaluation developed for the current study. We found a significant improvement in an executive function composite index for the intervention group as compared with the control group. Moreover, individual musical performance was the only factor to predict cognitive improvement. Our results suggest that musical instrument training has a positive impact on older adults’ cognition which is not solely attributed to social interaction or music listening. Further research should consider the potential of examining individual differences in music performance skills inside the experimental group to understand the effects of instrument training programs.

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

Attributes of Specialized Households’ Resilience and Its Impact on Rural Industrial Advancement: A Case Study of National Musical Instrument Production Specialized Households in Lankao County, Henan, China

Upaya Diplomasi Publik Dalam Mempromosikan Produk Fashion Indonesia di Luar Negeri

Indonesia is one of the countries that has many kinds of cultures, which include dances, musical instruments, ritual traditions and clothing in each region in Indonesia. Public diplomacy is also seen based on a series of efforts to open good communication space and negotiate national elements in the international world. To get the attention of the international community and give a good image to Indonesia, it is necessary to make efforts made by Indonesia, namely by promoting fashion to the international community in order to achieve Indonesia's national interests. Although it is undeniable, a number of fashion product brands in Indonesia still need improvement to compete with foreign brands, because there are still many people who think that the quality of foreign brands is better, but with the creativity of Indonesian designers who are starting to provide ready-to-wear product choices at affordable prices than foreign brands. Human resources and a lot of international markets will have potential in the fashion sector so that special attention is shown by the government. Not only the government but citizens also have the ability to be actors in diplomacy. This study aims to determine public diplomacy efforts in promoting Indonesian fashion products abroad. This research is descriptive research. The data used in this study are secondary data sourced from articles, online journals, books, and internet facilities. This research uses library research data collection techniques and the data analysis technique used is qualitative data analysis technique. This research uses the theoretical framework of public diplomacy and creative industries. The results showed that public diplomacy efforts in promoting Indonesian fashion products abroad are by collaborating between the government and the private sector, as well as facilitating and promoting domestic products to the international world.

Bone Artefacts from the exposition of the National Historical and Archaeological Reserve “Olbia” Museum

In the article, a collection of bone and antler artefacts that had been displayed at the National Historical and Archaeological Reserve “Olbia” Museum until 2022 are discussed. The collection includes materials excavated from the territory of Olbia starting from 1946 and encompasses a diverse range of artefacts categories, such as spindle whorls, handles for metal tools, musical instruments, jewellery and components of horse harness, etc.

Pleasing the Wrathful Deities: Ethical Approaches to the Care of Tibetan Skull Drums

ABSTRACT In 2023, a number of sacred Tibetan ritual musical instruments fashioned from human tissue were donated to Northumbria University, England. After lengthy consultation with stakeholders, the university took the decision to accept the donation in order to store and care for these objects in a culturally respectful manner. This process involved working closely with the Tibetan diaspora in exile to manage, research and provide access in a culturally sensitive way until such time as they might be returned to their communities of origin. Framing the university’s decision were current and ongoing debates within the heritage sector regarding the ethics of storing, researching and displaying human remains, especially where they belong to cultures from beyond the Global West. However, the cultural and ritual status of these objects, not to mention their geographical origin, is such that they do not fall easily into the same defined status as other historical human remains in western heritage collections. We present here ongoing work to build transparent and sensitive collections and research policies specifically around two Tibetan ritual thöd-rnga skull drums, traditionally used in the Chöd (gCod) ritual practised in Tibetan Tantric (Vajrayana) Buddhism. We situate our work within the complex discourse on caring for contested objects in the UK in the midst of the restitution and decolonisation agendas, before considering the objects themselves as material artefacts, and the ethics of caring for and researching these objects within the context of a university collection.

Metal Fragments of Roman Pipes from Pompeii: Investigations on Copper-Based Alloys, Corrosion Products, and Surface Treatments

This work reports the study of metal fragments from Roman pipes excavated from the archaeological site of Pompeii and currently preserved in the deposits of the National Archaeological Museum of Naples (MANN). The Roman pipe, called the tibia, is a reed wind musical instrument similar to the Greek aulos. It can be made of wood, bone, and/or metal. Materials consisting of metal Cu-based alloys were excavated from archaeological burial environments. This research aims to identify the composition of the alloys, characterize the corrosion patinas, and identify any ancient surface treatments on the fragments. Non-invasive and micro-invasive techniques were used to achieve this aim, i.e., optical microscopy, Raman spectroscopy, attenuated total reflectance Fourier-transform infrared spectrophotometry, scanning electron microscopy, and energy dispersive spectrometry. This research contributes to a deeper understanding of the materials and manufacturing techniques used for these instruments, as well as the degradation processes occurring over the centuries.

Wavy grain in sycamore maple (Acer pseudoplatanus) — a structural analysis of xylem and phloem

Summary Wavy grain (fiddle back) in trees has attracted the interest of both science and industry due to its aesthetic and economic importance. As the underlying causes of this particular structural feature in trees remain uncertain, this study investigates the possibility of non-invasively detecting wavy grain patterns within tree bark tissue of sycamore maple (Acer pseudoplatanus). Wavy grain, characterized by alternating light and dark stripes on the wood surface, is highly valued in the production of musical instruments. This research explores the potential of employing transmission light microscopy and microcomputer tomography (μCT) to examine the internal structure of phloem tissue to inspect whether the wavy grain structure found in the xylem continues in the bark. The investigation of phloem tissue proved challenging due to its irregular cellular arrangement. Nonetheless, slight phloem fibre deviations were observed in individual trees. However, no definite connection was found between the periodic oscillations of the xylem fibre tissue and the structure of the phloem in a given area. Variability in wavy grain expression among the xylem of the trees posed an additional challenge, with amplitudes and wavelengths differing across specimens. The application of μCT offered advantages over traditional sample preparation, enabling the study of the anatomical structure across larger areas and multiple depths without altering the specimen. This study sheds light on the potential of employing advanced imaging techniques to detect wavy grain patterns, providing insights that could benefit industries reliant on high-quality wood, such as musical instrument crafting and forestry.

Pendampingan Peningkatan Keterampilan Soft Skill Melalui Pelatihan Al-Banjari Di Desa Cermen Kecamatan Kedamean Gresik

Empowerment is a development process where the community takes the initiative to start the process of social activities to improve their situation and conditions. There has been a decline in religious enthusiasm among teenagers. Meanwhile, teenagers are an important asset for the next generation of the nation and religion. However, it is important to note that one of the triggers for teenagers' low enthusiasm for participating in religious activities is the lack of motivation from their parents. Teenagers' low understanding of the importance of religious activities is a key factor in the emergence of problems. In the village of Cermen Kedamean, one of the routine religious activities carried out by teenagers is sholawatan accompanied by the musical instrument Al-Banjari. However, the lack of understanding and skills in innovating rhythm and tone makes Al-Banjari's activities feel less effective. This is because there is no special training accompanied by related parties who have more mastery of the Al-Banjari art. So in this case there is a need for Al-Banjari training to increase the understanding and creativity of the soft skills of Cermen village youth in using the Al-Banjari musical instrument. This activity was carried out using the ABCD (Asset Based Community Development) method. To develop soft skills in playing the Al-Banjari musical instrument to accompany routine sholawatan activities. In order to shape the character of a more active and enthusiastic generation of teenagers.